July 8th-East Rutherford,N.J. (Continental Arena)

   EAST RUTHERFORD, N.J. -- Like other pop stars, Robert Smith sings about
love and kisses, dreams and tears. Teen-aged girls flock to the Cure's
concerts to hear his songs confess that he's lonely, infatuated, suffering or
giddy with desire. But he sings in a choked-up, distraught voice, and he
doesn't fit the teen-idol prototypes of pretty boy or bad boy; like his most
dedicated fans, he's gawky and fond of makeup. 

   Monday night at the Continental Airlines Arena, Smith wore eyeliner, eye
shadow and lipstick, with ratty teased-up hair. And until the encores, when
he walked out toward the audience to perform "Close to Me," he sang mostly to
himself. "I still haven't worked out the things I'm going to say yet," he
diffidently told the audience between songs, winning more applause. 

   The four other musicians played to one another rather than the crowd,
while a large video screen seemed to place them underwater or out in space.
Like Pink Floyd, the Cure polishes its production values, getting full-bodied
but not overweening sound and surrounding the band in images. 

   Smith, 37, never set out to be a teen idol; things just turned out that
way. When the Cure got started 20 years ago, he was one more punk-inspired
songwriter with a snappy band. But he showed a sensitive side: The Cure's
second single, released in 1979, was "Boys Don't Cry," with the singer trying
to hold back tears. 

   Through the years, Smith has devoted his songs to romantic tumult, and
brooding adolescents discovered him. He has a gift for lyrics that sound
heartfelt and heartsick. Brief moments of joy -- "There's nowhere else in the
world I'd rather be/Than here with you," he exults in "Mint Car" -- only make
his troubles more agonizing. He's not afraid to be maudlin; his voice, and
the music, curb sentimentality. 

   Through the 1980s and the early 1990s, the Cure's music has repeatedly
expanded and contracted. The group started as a three-man band playing taut
three-minute tunes, then added keyboards and let songs grow toward a moody
grandeur; keyboards were joined by distorted guitars, and songs turned into
typhoons of noise around Smith's desperate voice. 

   Then the Cure reclaimed its old concision; in the 1990s, it has been
writing peppy folk-rock songs alongside somber, turbulent drones. One
constant, however, is a fondness for layering riff atop riff, building
latticed patterns that mark the Cure as a band of rock Minimalists. 

   Monday night it grouped songs by style, and Smith announced every so often
that the mood was changing again. (The Cure's current album is "Wild Mood
Swings," on Elektra.) 

   The band risked sounding formulaic, but instead it proved that its new
songs stand up to its old ones, particularly with the fussy production of the
album stripped away. 

   As the Cure reshuffled its catalogue, it became clear that Smith
associates styles with attitudes: folk-rock is happy, staccato synth-pop is
sardonic, guitar drones are tormented. 

   Although few bands can handle the pacing of both three-minute songs and
10-minute ones, the Cure can. In a show that lasted nearly three hours, only
a final guitar solo wasted any time. 

Well, I try my hand at reviewing the flawless show The Cure put on 
this evening at The Continental Airlines Arena. The crowd was 
surpisingly small, and through various radio people I spoke with, I 
found out that stations were still giving tickets away the day of the 
show. Those of you who slacked off and didn't go missed one of their 
finest performances to date.
    For those who keep up the the fashion changes that The Cure make, 
here is a description of tonight's attire:

Simon: A red sleeveless shirt, black spandex biking pants with white 
pinstripes on the inside of each leg (long), and 8 hole boots.

Roger> The usual black short sleeve, collarless, button front shirt, 
Black pants, and boots.

Perry: Blue short sleeve T-shirt with the sleeves cuffed once up, black 
jeans, and 8 hole boots.

Jason: Black shorts, Pale green long sleeve shirt with the sleeves 
rolled up,....couldn't see his feet.

Robert: Well, Robert seems to have left the CCCP hockey jersey for a NEW 
hockey jersey....When in New Jersey, do as the Jerseyans do! Robert 
walked on stage this evening sporting a brand new NJ Devils hockey 
jersey! (lemme know if this shows up at any other shows, I'm curious) 
Black jeans, and his usual black and white BK's.

Enough about the fashion and on to the core of the review....This will 
actually end up being a setlist, with comments made about specific 
points of interest. Usually What was on the projection screen in the 
backround during a song, or minor differences in the song structure, so 
here goes.....

Want

Club America- Blue and red globule flowers on the screen

A Night Like This

Push

Lullaby- The lights drop from the ceiling, in a casing resembling 
accordians.

This Is A Lie- Stars projected on the backround. Perry moves to 
Keyboards, Simon to Guitar, and Jason to a drumset at the side of the 
stage

Mint Car- Cars and clouds projected on the screen.

Just Like Heaven

Friday I'm In Love

Jupiter Crash- Shooting stars, blue and white patterns, and planets 
projected on the screen.

Round & Round & Round- Various faces projected on the screen.

Inbetween Days

Strange Attraction- Butterfly wings projected on the backround. Perry 
moves to keyboards

Fascination Street- Accordian lights lower, and distorted clowns are 
projected on the screen

Return- Various psychedelic swirlies and patterns projected on the 
screen.

Treasure

Charlotte Sometimes

Trap- Red and black flame patterns projected on the backround.

Prayers For Rain- Well...this evening Roberts trademark yell lasted 22 
seconds....yes, I timed it! *L* Not as intense as the "Entreat" yell, 
but damn close.

From The Edge Of The Deep Green Sea- Played slower than usual. Clouds 
projected on the screen.

Bare- Bubbles projected on the screen.

Disentegration- Accordian lights drop once again. Very impressively 
done. Robert took the mic off the stand for this one.

ENCORE 1
--------
Lovesong- Robert comments about how it's been so long since they've 
played this song that he can't remember when the last time was that they 
did.

Close To Me- Seabed floor, fish, seahorses, sharks, projected on the 
screen, and the accordian lights drop too.

Let's Go To Bed- Spanish houses projected in the backround.

Why Can't I Be You?- Accordian lights move up and down throught the 
duration of the song. At mid-point the song breaks down to just bass and 
drums and slows a bit. Robert add-libbed some lyrics here. and Here is 
what he sang...
" Hit me in the mouth, that's how it feels to be loved by you. Fingers 
in my eyes, that's how it feels to be loved by you.Hit me in the side of 
the head with a hammer, that's what it feels like to be loved by me. Lay 
ing there in bed, dressed to impress, why can't I be you?"
     Song works itself back up to full tempo and and instrumentation 
again and ends with Robert singing, "Simply Elegant" and striking a 
pose.

2'nd Encore
-----------
Dressing Up

Play For Today- Green swirly smoke is projected on the screen.

Boys Don't Cry

10:15 Saturday Night

Killing An Arab

A Forest- With a new speedier intro. Accordian lights drop once again. 
Song fades out instead of Simon ending it in his usual fashion. Run time 
was 13 minutes.

Robert ends the show with his trademark "'k you. That was f*ckin' 
excellent, goodnight!"

All who did not attend missed a great show, and I hope you get your acts 
together for their return in the Fall.
                                              

IT WAS AMAZING!!!

Lovesong was a wonderful surprise!  Roger played the part on keyboards that
used to be Robert's guitar solo, so it sounded more like the album version.

A Forest didn't have the intro and was played pretty much like on the
Disintegration tour.  (liked it better on the wish tour)

After Friday I'm In Love, Robert said something like it sounds better when
he's drunk and they'll play it later- i wonder what he was referring to? 

Started around 8:15 and ended around 10:55- the usual 2 hours and 40 minutes.

No third encore, but with 32 songs played, it didn't matter